Holly Clark reflects on her 3 day remote Hatching Residency in Winter 2020
I am Holly, I am a theatre maker based in the West Midlands. I took part in a 3 day digital Nest residency. It was to explore a new solo show idea about being dyspraxic and neurodivergent. I knew I wanted to use movement in the piece (as it is known as the ‘clumsy syndrome’) to celebrate the way I move and also to highlight parts of dyspraxia and for it to be autobiographical.
My first talk with Janet about my piece, theatre, and about lockdown was so refreshing. As we know due to the pandemic, this was a rare experience to talk about art and ideas with someone new. I came away with inspiration and ideas and actually put in an Arts Council bid off the back of it. I also tried some ideas and thoughts we had created and discussed.
I then got really stuck. I found making and creating at home really uninspiring and the things I was making didn’t feel right or of any quality. I was getting in my head about it. I was regularly doing automatic writing and trying to imagine what the work could be.
The chats with Janet each time were encouraging and sparked new ideas. She gave me articles on how to reinvent the daily walks and focus on things other than the work in order to relieve the pressure. It worked. I let go and just tried to generate rather than analyse.
I actually got the Arts Council funding for an R&D for the piece. Those three days allowed me to have time and pay to do it. Even though work that was made didn’t go any further it laid the groundwork. The conversations with Janet helped spark ideas of what the piece has begun to be and helped shape it.
It was such a valuable experience to have the mentoring time and support. I encourage you to apply to be part of the programme.
Alan Van Wijgerden reflects on his Covid-interrupted Nest Residency
Plagues of locusts, biblical floods, it all seems to have happened to my Nest Residency!
It started over a year ago now when Covid was a rumour and happening mostly in China. Things went well for me and my able assistant: set, costume and camera person Jazz. But Covid spread and, with two days to go to finish the production phase of the project, it had to be halted due to the first Covid lockdown. And so the little room in Eaton House became a distant memory.
Over a year later, with Talking Birds’ move to Radford – and Covid (which as everyone knows was only going to last a few months) finally receding – we restarted. I re-learned a forgotten script, It’s relevance around dementia brought into much sharper focus by family events. Personally I’m scared stiff of dementia and my sister says she doesn’t want to get old. Dementia is slow, insidious and cruel.
But Plastic Is My Home also re-visits some of the issues of a now archive film of mine called The All Electric Home which, if I may say, predicted the impact of the likes of Facebook. And Facebook feels like it’s been with us forever now. But in reality it’s so recent.
Talking Birds were grand throughout, providing us with facilities. And special thanks must go to Janet, who held the faith through troubled times and enabled a production I wouldn’t ordinarily have had the resources to do. Jazz was a real trooper too. These residencies are well worth applying for. With a little bit of dosh which is always useful.
Our set came courtesy of that cornucopia of all things cheap and cheerful CROW. (Community Recycling Of Waste) Perhaps for me the hardest part, paradoxically, was memorizing my own script. Such lines as “AMERICA IS ON LINE!!!” and a short ode to the old red phone box.
There look to be opportunities with City Of Culture to show the piece now, which didn’t exist pre-pandemic. Just waiting to do the edit now…
Ludic Rooms has teamed up with Talking Birds to create two Nest Residency opportunities for artists who live in the CV1-6 postcode to take time to explore ‘Future Ecologies’ around Coventry Canal. Nest Residencies have been running since 2019 and prioritise D/deaf, disabled, neurodivergent and/or locally-based artists, supporting them to experiment with one of those ‘What if…?’ ideas.
This call out is intended to identify artists living within the CV1-6 postcode who are interested in:
– exploring the themes of Future Ecologies along the Coventry Canal;
– engaging with digital technologies (whether or not this is already part of their practice);
– collaborating with Ludic Rooms and Talking Birds;
– exploring sustainable or regenerative working practices;
and who would benefit from a supported studio residency within the creative community at The Nest.
The Nest Future Ecologies residencies are supported by by Arts Council England Project Grants, Coventry City Council Project Grants and the City of Culture Green Futures Programme.
Ludic Rooms is based at Coventry Canal Basin and is currently focussing on life by water (in the most landlocked city in the country) and ideas for folk traditions of the future. These are being developed through its major arts and technology programme called Random String, as well as an associated project, Landlocked, where Juneau Projects are working with local residents that overlook the water to imagine future wildlife in the canal.
The Nest is a brand new shared making space created by Talking Birds as a place to grow an inclusive, climate-conscious creative community which supports and enables disabled and local artists, giving them space to explore ideas and create new work. The Nest is on the Coventry Canal, adjacent to the Daimler Powerhouse, and is a 5 minute walk up the towpath from Ludic Rooms.
These Ludic Rooms/Talking Birds Nest Residency opportunities aim to play with the ideas and connections of the waterway and an artistic support structure – through the idea of ‘Future Ecologies’. The residencies are available across disciplines but should in some way engage with digital technologies. Ludic Rooms can support this, if you have ideas but limited know how.
The successful artist will be provided with an accessible work space at The Nest where they will benefit from mentoring, constructive critical input and production support from the two partner organisations. The successful artist will also receive:
Residency fees: £800 or £1600 (plus additional access support to make the residency work for you)
Modest but flexible materials/making budget to include support as needed with digital technologies or other construction.
For these Future Ecologies Nest Residencies, the deadline for applications is 22nd July 2021. We would ideally like the first residency to start as soon as possible. Nest Residencies aim to be responsive to the needs of the artist and the idea they are exploring, so the exact timing of the residency will be arranged with, and to suit, the artist.
There are two opportunities:
A short intensive residency ending 27th August with work to be presented during the Bank Holiday weekend events that are being held at both locations and along the canal.
A longer or more spread out residency, with a studio available between 1st September and 15th October. If the appointed artist wanted to take advantage of the engagement opportunities outlined below, the start date could be earlier.
It would be useful if you could indicate in your application if you have a preference on timescale.
Sharing the Work and/or community engagement opportunities
There are a number of potential sharing, testing and presenting opportunities between July and November (see below) which is why we have structured the opportunities in this way.
Nest artists can potentially present works in progress or engage with the public in developing their work during Friday sessions at Ludic Rooms’ Roam + Dwell public events (every Friday through July and August); August Bank Holiday weekend (27-29 August); and finally at Random String Festival 11-14 November.
Who can apply for the Nest Future Ecologies residency programme?
Any Coventry-based artist or small company with a CV1-6 postcode, with priority given to d/Deaf or disabled or neurodivergent artists.
Are you a brilliant person who can make creative things happen, while supporting artists to experiment with, and develop, their ideas?
Are you interested in work with artists and communities that is at once local and place-based, but also deals with much bigger, universal issues?
Do you agree that artists have a social and civic responsibility to the places and communities where they live and make work?
Are you interested in how artists respond to the problems facing humanity: in exploring what an arts organisation’s role might be in fighting against climate change – and for social justice?
Has the pandemic made you think hard about what happens next and how artists might lead on imagining & building a better future?
We are looking for someone to join our small and friendly staff team as we grow a creative community at The Nest, our new HQ in Coventry. We have imagined this role as Nest Community Connector, but we want to work with the right person, and this means that the role, title and terms of employment are open for discussion. To begin with, we are looking for someone to join us 3 days a week for nine months – but we’re growing and changing at the moment and we hope to be able to make this a much longer term thing.
You can view or download the recruitment pack below (PDF format). A text only version is pasted in lower down this page, or if you’d prefer the information in another format, please let us know.
First and foremost we are looking for someone who is excited by this brief, by the possibilities it holds and who would like to get stuck in – who is excited by the fact that everything is fluid and not yet pinned down. Someone who can’t wait to come and join us in Coventry, can see the huge possibilities of The Nest and wants to be a key part in making it a success for our city.
We’ve made a list of the qualities we are looking for, but we know that the right person may not have every single one of these – and will likely have more useful qualities that we haven’t even listed – but if you read this and think it sounds like you, then please consider applying.
We are looking for someone who:
likes people and is a generous collaborator, a good listener, is quick thinking and good at working with others to make interesting things happen.
is able to recognise the best idea in the room and work with that, even (and maybe especially) when it isn’t their idea.
is really curious about how and why, and is interested in change.
can think practically and strategically, loves to solve problems and wants to help make the world a better place. can hold a conversation with anyone, and make them feel confident they are being listened to, that their words matter.
knows how to gently question or challenge an idea or viewpoint from a position of care, and can inspire others to work with them to achieve something really special.
can bring something, in their skillset and lived experience, to the team that we don’t already have.
knows that sometimes something needs doing in a particular way whilst at others it is appropriate to challenge how things are done; and can just get stuck in and finish the job when that’s what is needed.
The kind of person:
whose values are important to them, and which chime with our own (Kindness, Brilliance, Transformation, Curiosity, Wellbeing, Collaboration) and with our ‘six big ideas’ (about artist process & support; access & participation; climate conscience; agency, equity & diversity; nurture & resilience) – which weave through our work, guiding our choices and interactions.
who is interested in people power, cultural democracy, collective decision making and the positive transformation that groups of people working together can effect, especially through the arts and culture.
who believes that artists have a responsibility to their communities and their cities, and that small and agile, but connected, organisations working strategically can affect big and meaningful change.
We think that the person we are looking for might previously have worked (maybe in the arts, events, charity or community sectors) in a job called something like ‘Producer’ or ‘Creative Agent’ or ‘Changemaker’ or ‘Project Coordinator’ or ‘Project Manager’ or ‘Community Activator’ or ‘Community Engagement Instigator’ (or maybe something else!). In the kind of job that is as much about envisioning the future as seeing something through – we are looking for someone who is as good on fine detail as on the big picture, and is comfortable with – and excited by – change.
Other skills that might be useful include:
is comfortable managing/tracking project budgets.
is able to reflect on how a project has gone, gather everyone’s viewpoints and fold that learning into working out what happens next.
What will we be working on?
This is a big and busy nine months for Talking Birds, and for Coventry as it becomes UK City of Culture. As we’ve mentioned, our biggest project is The Nest, a brand new home for the company – somewhere to build our climate-conscious creative community and make a hub for the wider independent artists’ community in Coventry. Within The Nest there will be co-working and meeting spaces in addition to studio spaces for artists undertaking Nest Residencies, which prioritise d/Deaf, disabled and locally-based artists, providing space and support to experiment with those ‘what if…?’ ideas.
We know there will be lots to do in inhabiting our building for the first time and in creating the right spaces and atmosphere – and much of that is about the care and attention of our team. Alongside this, we will be opening up the Nest Residency Programme again and working towards the delivery, in November, of our major creative project for City of Culture.
Specific jobs might include:
Artist development and support at The Nest: you might lead on the co-ordination of co-working sessions, and the team’s support for artists undertaking Nest Residencies.
Festival of Transition: you might be the main point of contact in the team for artists and the co-ordinator of a series of talks/events.
Art for the People: you might be a key creative collaborator in the shaping and coordination of this major arts and social democracy project.
Inclusion and Relevance: you might take the lead on connecting and extending our key strands of work around access and diversity.
Nestival: you might be a key creative collaborator involved in developing and producing projects in preparation for a year-long programme of creative work marking Talking Birds’ 30th anniversary in 2022.
Shape and influence the company’s projects, systems and future direction as a new team member with a fresh perspective.
Our working hours are pretty variable and flexible. They are often shaped around the needs of a project, but also around the other responsibilities that our team have elsewhere, like caring responsibilities or other part time work – we plan as a team to find a balance that works. We will be happy to explore different working patterns that work for the company and our new team member.
This is a part-time role and the salary will be pro rata of £26,000 per year (£15,600 per year for a 0.6 FTE role) – which for the 9 month period of this contract is £11,700. For more details, see ‘Terms and Conditions’ below.
How to apply:
If you think you might be the person we are looking for, then please send an email (up to 500 words) or a video (up to 3 minutes long) along with a CV or list of recent work to firstname.lastname@example.org
In your email or video, please let us know:
What is exciting for you about this proposition?
And why do you think this is the role for you?
What will you particularly bring to Talking Birds (and Coventry)?
Closing date for applications: Friday 4th June
Interviews: Thursday 10th June on Zoom. Although many Covid restrictions will have relaxed by this point, we have taken the decision not to schedule in-person interviews at this time. Other arrangements can be made if this is not a suitable medium for you. If you’d be unable to attend during the week but would need an evening or weekend interview, please mention this in your application. We will share the questions with all interviewees before the interview date.
The interview panel will be Janet Vaughan (Co-Artistic Director), Sujana Uphadyay-Crawford and Jess Pinson (Board Members).
Questions about this role We’ve tried to take care with the language in this job call out, and to write it in an open, accessible and equitable way – but if anything isn’t clear, or you’d like to chat with someone before applying, we’re really happy to talk to you. Please email email@example.com and leave your name, details with the best way/time to contact you – and one of us will be in touch.
Positive Action Statement Like many artist-led organisations, we are working to better represent the UK’s wide wealth of lived experience. Whilst we feel we have made progress with the diversity of the artists we work with and with the make up of our Board, our core staff team is less ethnically diverse than it might be. Therefore we are particularly keen to attract applicants who identify as something other than white British.
Travel We advocate for greener/active travel wherever possible, and this role will be based at The Nest in Coventry, which is a 20 minute walk from Coventry city centre – or a 10 minute cycle (a docking station for the West Midlands Cycle Hire (Beryl app) network is 100m away on Sandy Lane). We have pedestrian access from the canal towpath or from Sandy Lane, which is also well connected to the local bus network. There is ample bike parking on site and two car parking spaces, which are reserved for those for whom travelling without their car would be a barrier to accessing the building.
Terms and conditions This is initially a temporary contract for nine months. We hope – subject to successful fundraising – to extend this.
The role is part time – pro rata 0.6 of a full time equivalent (FTE) working week of 37.5 hours (i.e. 3 days / 22.5 hours a week). We are open to flexible working patterns (by agreement) and committed to family-friendly working. Some non-usual hours may be required depending on projects, possibly including at weekends or evenings, by prior arrangement.
Salary will be pro rata of £26,000 per year (£15,600 per year for a 0.6 FTE role) – which for the 9 month period of this contract is £11,700. There will be 11.25 days of paid holiday per year over the 9 month period of this contract (pro rata of 25 day FTE per year). In addition, there is entitlement to the usual public holidays in England and Wales on a pro rata basis, normally to be taken in the week of each bank holiday.
Reasonable time off in lieu (at a time agreed with the Artistic Directors or General Manager), will be granted for excess hours worked. Occasionally, by agreement, additional pay may be offered instead of time off in lieu.
Talking Birds has a company pension which the postholder will be eligible to join. Employer contributions will be 3% and employee contributions 5%. Employees may opt out of this if they wish.
There will be a probationary period of 2 months.
There may be some flexibility around the number of hours and/or salary for the right candidate.
More info You can find out more about us at www.talkingbirds.co.uk – we are in the middle of making a new website to launch with the opening of The Nest, but hopefully the current one will give you enough of an idea about us and our work. If you have any problems with getting in touch via our email address, please use the contact form on the website.
We have proof-read this pack about 5000 times, but please forgive us if you spot any errors… 😉
*This page was edited on Fri 14th May to change the email address for questions and applications because the previous email address was not working consistently.
Alex Hilton reflects on their Remote Nest Residency:
For my nest residency, I wanted to explore reimagining work, using a framework of mutual space
So many inequalities exist in access to work, and so few people feel they have the space to be themselves at work. At the same time, so much work is extractive – creating pollution, contributing to climate change, contributing to inequalities, reducing the space for other beings to flourish in the world. What would it mean for work to be spacious for the people doing the work, and space-creating for wider society and the ecosystems around us?
I’d been thinking about these issues for a while, related to my own jobsearch as an autistic person and my concerns about environmental issues. My housemate suggested that art would be a good format for exploring these issues in a broader way.
As a new artist, it was wonderful to have the space to explore my ideas which the Nest residency provided. Initially, I really noticed how nervous I was about the project. Would I write the ‘wrong’ thing? Would what I made ‘count’ as art? This felt the opposite of spacious. But once I got into the flow of working, I found it easier.
I thought about how art could be used to communicate that elusive sense of how mutual spaciousness would feel when you haven’t experienced it. It can often be easier to see what’s wrong than to see how it could be right. So I thought of the role of art in imagining and inspiring the best of what society could be. This feels especially relevant in the year of the pandemic and the need to reimagine what a better future could look like.
Janet was really supportive and it was really helpful to talk through how the work could be developed. We settled on creating a postcard prompt to get contributions for a future zine/ exhibition. Janet introduced me to Andrew Moore, who helped to create a design for the postcards which really got my ideas across and was eye catching.
I’m hoping to get contributions and include a wider range of voices in a zine/exhibition later this year exploring reimagining the best of how work could be.
Imagine Spacious Work is an art project to make a zine and exhibition on the topic of re-imagining work. This will happen in Coventry in Summer 2021. We’re looking for creative contributions on the theme of re-imagining work. This includes paid and unpaid work, childcare, homemaking etc. If you’d like to contribute writing, drawing, audio or video on this topic please get in touch via ImagineSpaciousWork@gmail.com
Being a musician for many years, I’ve often witnessed Discrimination on many levels, and I thought if I could turn this into a play, theatre piece this could be good. For me it had to be done very differently to what I had seen on stage in the past, it would need to grab people’s attention, make them sit up, be involved somehow – and then of course go tell their friends, post on social media to get more people to come and see.
So the idea came and a few days later a friend posted online about ‘Talking Birds Nest Residency’ I had an idea that needed exploring, researching, bouncing around, talking through with a few theatre professionals. I grabbed my tablet made a few videos, picked the one I thought described what I wanted to do best and I applied for the scheme.
Tick tock time went by and one day I see a reply from them, my heart starts beating faster, getting anxious, scared of opening the email I put the kettle on and made a coffee. Grabbed one of my drums to feel calm again and 2 hrs later I slowly took my mouse, clicked on the email . . … Nearly fell out of my chair with the biggest grin, I got it! No Match Funding needed! I was going to be a Nest Resident, and so it started with a meeting with Janet and Derek. To be honest I couldn’t believe it, but they believed in me to get this started.
‘When Instruments come to Jam’ has at its heart the idea of using instruments as a metaphor to show discrimination on many levels. So I started to focus on the conversations instruments would have if they communicated with each other, (as humans would) the fun, laughter, judgemental, good/bad thoughts, gossiping, sarcasm, joking around and then of course discriminating!
I’ve not written a play before, so Talking Birds they got me a meeting with Ola Animashawun to help me start to sketch out the story I wanted to tell – this was a chance for me to start sounding out my ideas with a theatre professional/dramaturg, and for me this was again all new territory. Within a short time I’d realised there was a lot of work to be done by myself – he left me with provocations regards my idea which going forward would help me structure my idea/my play. I had conversations about my idea with musicians and animators and they all helped influence the way the idea shaped up.
About a month later my partner and I were off on a short break to Bulgaria (sadly not part of the residency!), the weather was great and I found this wonderful beach bar. The laptop came out and for the first time I was inspired to start writing the beginnings of ‘When Instruments come to Jam’, for some reason the beach bar provided the perfect conditions, the sea, sand and gentle breeze.
How do you write about ‘discrimination’? It’s simple, you draw on your very own experiences from the first day at school to today! Remarks about colour/size/abilities/being too good/being too bad/ethnic background/standing up for yourself/for your friends/not being white! And to be honest not all was that bad – especially because most remarks/insults around ethnic background were wrong (for some reason very few people could actually truly insult me about this since they never take the time find out what my ethnic background actually is!)
Transferring this to instruments at first was difficult but then surprising enough started to become easier as even instruments have a make-up. Colour/size/background/abilities/the sound they produce/presence and they too have feelings. It’s hard to explain that although music has no barriers, the musicians choose to put up barriers.
As the title says, the story starts ‘When instruments come to Jam’ – although I have an idea of how the story plays out, I want to develop it collaboratively over time, maybe once a week with an open call to musicians to attend; building up a group producing great music regardless of knowing or ever having played alongside each other…. that’s where the trouble starts!
Without this Nest Residency, I would not have been able to get started on this project – the funds and support allowed me to schedule time in to my work specifically for this project/idea, think about why I wanted to tell this story, and who it was for. Being a full time musician means I have to generate my own income and anytime spent on ideas, looking at new projects in my own time would mean I’m not earning. The Nest Residency meant I could afford to spend time on this and explore this idea of mine: contacting artists, writers, audience development specialists. I wanted to see if, firstly, this kind of delivery has been done in theatre, have instruments been used as a metaphor and the main point was would audiences be open to a play without spoken words and just music? I’ve spent a lot of time wondering, experimenting, and being ‘brave’ in order to develop the idea further.
The next step for this project has been to apply to (and be shortlisted for) the We are Unlimited/City of Culture Trust commissions, taking this to the next level of applying for an Emerging Artist Award in theatre. My time as a Nest Resident exploring this idea needs to end to move forward. I’d like to thank Talking Birds for their time, guidance so far and hope that we’ll continue this on the next step as it starts to take flight . . .
From November 2020 i collaborated with T, this experimentation did not go as planned because of external factors (pandemic, family challenges, uncaring processes, race, gender, ableist dynamics…) and internal mechanisms within our exchange on which i am about to expand audio-visually and verbally in this performative sharing.
i am including some of the correspondence emanating from me in the blogpost as a sort of a mixed modal and fragmented essay. You are invited to take as much and as little as you wish from this buffet. The video shows me reading the letters i delivered to T for the first time. There is an audio version of it as well that i recorded on my phone simultaneously for those who have had enough screen for the day. The tone of this entry is self-reflexive but it is not only a sharing of feelings and post-collaboration analysis but also just a sharing space. Only unedited documents are shared, because i believe in the force of self-exposure, i believe it tells a lot about the context and the re-contextualisation of creative processes and about oneself. Welcome in the bits and pieces of a ‘process that went wrong’ and made me grow on multiple levels.
As i am solely elaborating from my proudly subjective perspective my last Nest residency has been a much needed grounding work on collaboration. It literally brought me down, and pushed me to my limits. Reflecting on it i am grateful it happened yes if i were to choose, i would do it in similar ways again.
i have tried to collaborate outside of my political practice and it ended up in exhaustion. i wrote to my collaborator in one of my correspondence: ‘i was exhausted before (anyway)’.
In the context of a global pandemic and under lockdown restrictions adding up extra difficulties to a state of things already hard to navigate in was a doubtful choice that guided me to learning more about my limits.
This collaboration beyond the initial excitement quickly turned out no longer serving me but rather weakened a friendship, my mental health and future possibilities to collaborate as a free spirit. In one of the letter i regretted that i did not : ‘appreciating the distance between us. Same city, different contexts, different bodies.’ prior to this experimental process.
i got trapped in the process:’there is no start nor ends just complexity’
Can setting up new collaborations be taken lightly or ahistorically? My current self would reply with the negative to this question. Power forces have been neglected in this experimentation. My only desire was to stop worrying, stop caring about my collaborator, stop the guilt of not caring as i should, just stop. Stop, observe, and learn from the unfertile ground from which we started and from which we did not manage to grow a healthy exchange.
That went wrong because that was wrong from the beginning. Consent checklist, management of expectations, and regular checking that the other part does understand your struggles, needs, and claims are essential for me even more so now.
This experience has furthered my understanding of myself, reasserted the importance of informed consent when collaborating and highlighted my limited capacity to expand emotional labour here and now. Which is a shame but it is also the ugly truth of what it is. Reflecting on the process and gathering some thoughts has proved to be helpful to start to repair and look at this scar right in the flesh so far. i take away my need to say no without solely pondering the validity of my need on consensus to be able to stand still. i use my practice as a liberating force, i understand better that there are deviations that i should not take if they do not bring joy.
i dis-placed one of my hair jar at T’s home during the creative process. When it came back i started to gather my strength back.
During this period of investigation we have sent threads of thought and element of practice to one another that ended up in a nonsense collection of letters and things that mismatched with each other but did narrate our impossibility to collaborate. i had extreme difficulties making peace with the imbalanced exchanges, and my refusal to self-censor. The issue was that refusing to self-censor did not help the other half of the research to feel welcome nor to find ways to play in the process.
My love goes to Talking Birds to Janet and Philippa for their kindness and never failing support and to Dr. Bharti Parmar and Janet again for gentle and transforming mentoring sessions. i am sending love to my collaborator towards whom i directed a spectrum of feelings and thanks to whom i learnt to appreciate failure and found joy and contentment in unexpected spaces and challenging times.
About me My name is Patsy Browne-Hope and I am a Birmingham based choreographer, rehearsal director and freelance lecturer. I am currently researching and developing a short dance film based on the postpartum experience.
Transition I am an ex-professional dancer who toured nationally and internationally with UK based companies and decided to step away from the profession in 2015 to start a family. Having my children and a break from the industry was like pressing a huge reset button. There wasn’t much time to really think about dance at depth during this time but to be honest, this was welcomed. We started a family knowing I wasn’t entirely certain where I would end up work wise on the other side and I found this an exciting prospect.
As it turned out (2 children later) my passion for movement and dance had not dimmed – I had just felt stifled creatively and needed a bit of time to lead a life not so consumed by dance after 12 years of constant training and working. Before my children I was feeling exhausted by the industry, a bit lost with direction and a bit low on self-esteem. After having my sons I gained perspective, cared less about what people thought and once sleep became a ‘thing’ again I felt ready to start trying to make sense of the world through my craft… I decided my first stop with this would be ‘Postpartum ‘…..
‘PostPartum’ is a short dance and movement film with original music that intends to highlight, celebrate and normalise the postpartum experience which sadly can be tainted by huge societal pressures. Both pregnancy and early motherhood had unexpected surprises for me. Strangers shared unwanted opinions on my body shape and I regularly heard ‘Mom shaming’. Comments on how a woman was raising her baby, when they chose to start a family, opinions on how much she works or doesn’t work, how they fed, how they slept. Nothing seemed to be off limits.
As new mothers we can find ourselves spending hours on end with a screaming baby, a body that doesn’t feel like our own and, thanks to raging hormones, a mind we don’t recognise. We should probably ask ourselves if the intense scrutiny of mothers is really all that necessary…
Why My desire is to create some compassion through film; at a time when a woman feels most vulnerable, we hit her hardest with our attitudes and judgements.
I want to create something where new mothers feel a little less alone and a little more understood. How do so many first time Moms not know about all the bleeding, the colic, the mastitis, the intense sleep deprivation and the detriment this can have to her mental health, the loss of self and the knowing that eventually, you somehow manage to work it out.
Perhaps if they were armed with some knowledge, championing and solidarity they would cope a little better and be a little kinder towards themselves?
Talking Birds Due to the sensitive nature of the topic and my desire to work with women from the community to help research this I was looking for an opportunity to test these ideas out on a small and intimate scale.
I was thrilled to be selected for a Fledgling Residency to help explore this. As a result I was able to develop a private research group on social media and run an online community workshop led by Lindsay Jane Hunter (Therapeutic Art Practitioner). I undertook deeper research into the ideas and themes found here and was then able to collaborate with Katy Rose Bennett (Composer) and Oliver Whitehouse (Filmmaker). Dancer, Lucie Labadie, came on board to help me test and explore movement language specifically for film.
Reflections This is the first time I have been able to so closely communicate with collaborators on my own project idea. It has opened up many more questions for me and the vision I have for the work going forward which is incredibly exciting. I recently secured Arts Council funding for a larger phase of R&D into PostPartum and this development opportunity with Talking Birds has been the perfect precursor.
I am going into my ACE activity more informed about how we develop this work, how I successfully communicate my ideas to the collaborators involved, what works, what doesn’t and just how far I hope to push the visuals for the final film.
Mentoring The final part of my Talking Birds support was concluded with mentoring from Janet Vaughan. I was able to spend time discussing the process, the outcome, what I would like to do differently and most excitingly, potential life for the final film. We discussed, at length, various venue ideas including unusual and outdoor spaces as well as partners to be considered and approached for the film development. This will be hugely informative to my next planning stages and I very much look forward to updating Janet on the project life!
We are looking to commission two brand new short art experiences that use our captioning tool, the Difference Engine, to deliver a story to individual audience members in an unexpected, beautiful (and Covid-safe) way.
What is the Difference Engine?
The Difference Engine is Talking Birds’ discrete tool, developed to make performances and events accessible to D/deaf, hard-of-hearing, blind or partially-sighted audience members by delivering captioning and audio description direct to their own mobile devices.
It has been developed by artists, for artists – we made the Difference Engine because we wanted to give more people the chance to access experimental, outdoor, small scale or immersive performance. But essentially one of the things the Difference Engine does is to allow artists to send text to audience members’ mobiles in real time (for more info see the Difference Engine website). This is why we have come up with this opportunity.
The Difference Engine has successfully allowed companies of various scales, from intimate one-person shows through to larger scale outdoor art, to bring captioning into their audiences’ hands. Difference Engine Stories is an opportunity for artists to experiment with the tech and find a new way to build an experience around the delivery of a story to an audience and their mobile at a (social) distance.
What are we looking for?
We know that artists are inventive and this is our invitation to you – to think of a way you might play with the captioning possibilities of the Difference Engine to create something small, beautiful, and a bit different.
Because the Difference Engine is good with text, we think you might want to use it to tell a story.
Because the Difference Engine works at a (short) distance, we think you can make something socially distanced for a small number of people – maybe with your artists outside and your audience inside, receiving the text to their mobile devices.
Because the Difference Engine was created in order to caption live performance, we think you might want to play with the relationship between the text you are sending and some visuals, perhaps performed on the other side of a window to your audience.
Maybe you will pair the text you’re sending to your audience in their front room with live (silent) action you perform outside their house; or live caption narrate a story that transforms what is actually happening outside the window; or send a story in small chunks of text without visuals; or provide alternative captions to something they watch on their TV…
But because we are also artists, we don’t really want to tell you what we are looking for, we want you to come up with something interesting.
Who is the audience?
This is really down to you, but we expect there will be the possibility to experiment with the relationship between the artist (as the giver of the story) and the audience (as the socially-distanced recipient/s). We’d like the Difference Engine stories to be made for, and shared with, people in Coventry early next year – at the point where the city wakes from winter and looks towards a year as City of Culture (but we’re not asking for the stories to be about these things).
Within this project, we are only looking for proof of concept delivery – and so, if you are commissioned, we will expect you to decide (with us) how many ‘performances’ you will do, identify and brief your preview audiences, test your piece and collect some documentation and feedback. Although audiences can access the Difference Engine via their smartphone browser, it works better with the Difference Engine app and so, if commissioned, you will have to consider how best to identify and brief your audience (we can support you with this).
We expect that people with hearing-related access requirements might naturally form part of the target audience, but anyone should be able to enjoy it and, crucially, have a similar experience.
Who can apply?
As we may have mentioned (!), we’re based in Coventry – so we would love to hear from artists local to our area, but we’re also open to hearing from people further afield – if they can safely travel to Coventry to present their piece, working within current Government guidance. Although the Difference Engine is usually a performance tool, these commissions are open to individual artists or artists groups in any discipline who can work within this brief to make a piece for the Difference Engine.
What’s the idea?
We want you to use the Difference Engine to place a story into an audience’s hands in a completely new way. Remember, the Difference Engine can be used anywhere, by anyone who has a mobile device (smartphone or tablet) in their hand – but we are interested in the intimate relationship between the artists, the tech and the audience. This is not something that could be broadcast via the internet and experienced by anyone anywhere all at once, it is about choosing your “stage” – whether that is the pavement outside a single house, a street, a school, a towpath, a public square (although if it is a public space where permission is needed, you will need to be confident you can gain that permission, if commissioned, and of course ensure all regulations relating to Covid are followed) – and the physical space between you and your audience as you tell your story.
What we’re offering?
We are offering 2 commissions, of £2,000 each, to an individual, collective or company, to create and deliver their piece.
At this stage, we are only looking for proof of concept delivery – i.e. the piece is made and previewed with some test audiences whose feedback is captured.
We don’t want the application process to be onerous, so please just send us up to 500 words about your idea, about you and your work and about what in particular interests you in the combination of the Difference Engine, Covid-safe art experiences, and sending a gift of words over a short distance.
If you have any questions or you think that you might have a great idea, but would like to speak to someone about it first, we can be available for a short chat between 10th and 17th December. Drop us an email via the website including your phone number and we’ll get back to you as soon as we can.